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French’s International Copyrighted (in England, her Colonies, and the 
United States) Edition of the Works of the Best Authors. 



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No. 62 . 


The N ew Pygmalion 
And Galatea 

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BY 


SYLVAN DREY 


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Copyright, 1903, by Sylvan Drey 

CAUTION :—Professionals and Amateurs are hereby notified 
that this play is fully copyrighted under the existing laws 
of the United States Government, and nobody is allowed to 
do this play without first having obtained permission of 
Samuel French, 24 West 22d Street, New York City, U.S.A. 


& 


PRICE, 25 CENTS. 



London 

SAMUEL FRENCH, Ltd. 

PUBLISHERS 

89 STRAND 


New York 
SAMUEL FRENCH 

PUBLISHER 

26 W. 22D Street 


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FRENCH’S STANDARD DRAMA 


Price 15 Cents each.—Bound Volumes $1.25. 


VOL. 1. 

t loa 

2 Fazio 

3 The Lady of Lyons 

4 Richelieu 
6 The Wife 

6 The Honeymoon 

7 The School for Scandal 

8 Money 

VOL. II. 

9 The Stranger 

10 Grandfather Whitehead 

11 Richard III 

12 Love’s Sacrifice 

13 The Gamester 

14 A Cure for the Heartache 

15 The Hunchback 

16 Don Cmsar de Bazan 

VOL. III. 

17 The Poof Gentleman 

18 Hamlet 

19 Charles II 

20 Venice Preserved 

21 Pizarro 

22 The Love Chase 

23 Othello 

24 Lend me Five Shillings 

VOL. IV. 

25 Virginias 

26 King of the Commons 

27 London Assurance 

28 The Rent Day 

29 Two Gentlemen ofVerona 
50 The Jealous W’ife 

31 The Rivals 

82 Perfection \ 

VOL. V. [Debts 

83 A New Way to I^iy Old 
34 Look Before You Leap 

85 King John 

86 Nervous Man 

37 Damon and Pythias 
88 Clandestine Marriage 

39 William Tell 

40 Dav after the Wedding 

VOL. VI. 

41 Speed the Plough 

42 Romeo and Juliet 

43 Feudal Times 

44 Charles the Twelfth 

45 The Bride 

46 The Follies of a Night 

47 Iron Chest [Fair Lady 

48 Faint Heart Never Won 

VOL. VII. 

49 Road to Ruin 

60 Macbeth 

61 Temper 

62 Evadne 
53 Bertram 

64 The Duenna 

65 Much Ado About Nothing 

66 The Critic 

VOL. VIII. 

67 The Apostate 

68 Twelfth Night 

69 Brutus 

60 Simpson & Co 

61 Merchant of Venice 

62 Old Heads&Young Hearts 

63 Mountaineers [riage 

64 Three Weeks after Mar- 

VOL. IX. 

65 Love 

66 A8 You Like It 

67 The Eider Brother 

68 Werner 

69 Gisippus 

70 Town and Country 

71 King Lear 

72 Blue Devils 

VOL. X. 

73 Henry VIII 

74 Married and Single 
76 Henry IV 

76 Paul Pry 

77 Guy Mannering 

78 Sweethearts and Wives 

79 Serious Family 

80 She Stoops to Conquer 


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81 Julius Caesar 

82 Vicar of Wakefield 

83 Leap Year 

84 The Catspaw 

85 The Passing Cloud 

86 Drunkard 

87 Rob Roy 

88 George Barnwell 

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89 Ingomar 

90 Sketches In India 

91 Two Friends 

9 ' Jane Shore r 

93 Corsican Brothers 

94 Mind your own Business 

95 Writing on the Wall 

96 Heir at Law 

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97 Soldier’s Daughter 
9* Douglas 

99 Marco Spada 

100 Nature’s Nobleman 

101 Sardanapalus 

102 Civilization 

103 The Robbers 

104 Katharine and Petruchio 

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105 Game of Love 

106 Midsummer Night’s 

107 Ernestine [Dream 

108 Rag Picker of Paris 

109 Flying Dutchman 

110 Hypocrite 

111 Therese 

112 La Tour de Nesle 

VOL. XV. 

113 Ireland As It Is 

114 Sea of Ice 

115 Seven Clerks 

116 Game of Life 

117 Forty Thieves 

118 Bryan Boroihme 

119 Romance and Reality 

120 Ugolino 

VOL. XVI. 

121 The Tempest 
142 The Pilot 

123 Carpenter of Rouen 

124 King’s Rival 

125 Little Treasure 

126 Dombey and Son 

127 Parents and Guardians 

128 Jewess 

VOL. XVII. 

129 Camille 

130 Married Life 

131 Wenlock of Wenlock 

132 Rose of Ettrickvale 

133 David Copperfield 

134 Aline, or the Rose of 

135 Pauline [Killarney 

136 Jane Eyre 

vol. xvnr. 

137 Night and Morning 

138 .lEthiop 

139 Three Guardsmen 

140 Tom Cringle 

141 Henriette, the Forsaken 

142 Enstache Baudin 

143 Ernest Malt ravers 

144 Bold Dragoons 

VOL. XIX. 

145 Dred, or the Dismal 

[Swamp 

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147 Esmeralda 

148 Peter Wilkins 

149 Ben the Boatswain 

150 Jonathan Bradford 

151 Retribution 

152 Mineral! 

VOL. XX. 

153 French Spy 

154 Wept of Wish-ton Wish 

155 Evil Genius 

156 Ben Bolt 

157 Sailor of P ranee 

158 Red Mask 

159 Life of an Actress 

160 Wedding Day 


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161 All’s Fair in Love 

162 Hofer 

163 Self 

164 Cinderella 

165 Phantom 

166 Franklin [Moscow 

167 The Gunmaker of 

168 The Love of a Prince 

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169 Son of the Night 

170 Rory O’More 

171 Golden Eagle 

172 Rienzi 

173 Broken Sword 

174 P.ip Van Winkle 

175 Isabelle 

176 Heart of Mid Lothian 

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178 Floating Beacon 

179 Bride of Lammermoor 

180 Cataract of the Ganges 

181 Robber of the Rhine 

182 School ot Reform 

183 Wandering Boys 

184 Mnzeppa 

VOL. XXIV. 

185 Young New York 

186 The Victims 

187 Romance after Marriage 

188 Brigand 

189 Poor of New York 

190 Ambrose Gwinett ' 

191 Raymond and Agnes 

192 Gambler’s Fate 

VOt.. XYV. 

193 Father and Son 

194 Massaniello 

195 Sixteen String Jack 

196 Youthful Queen 

197 Skeleton W’itness 

198 Innkeeper of Abbeville 

199 Miller and his Men 

200 Aladdin 
VOL. XXVI. 

201 Adrienne the Actress 

202 Undine 

203 Jesse Brown 

204 Asmodeus 

205 Mormons 

206 Blanche of Brandywine 

207 Viola 

208 Deseret Deserted 
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209 Americans in Paris 

210 Victorine 

211 Wizard of the Wave 

212 Castle Spectre 

213 llorse-snoe Robinson 

214 Armand, Mrs. Mowatt 

215 Fashion, Mrs. Mowatt 

216 Glance at New York 
VOL. XXVIII. 

217 Inconstant 

218 Uncle Tom’s Cabin 

219 Guide to the Stage 

220 Ve’eran 

221 Miller of New Jersey 

222 D n rk Hour before Dawn 

223 Midsum’rNigbt’sDream 
[Laura Keene’s Edition 

224 Art and Artifice 

VOL. XXIX. 

225 Poor Young Man 

226 Ossawattomie Brown 

227 Pope of Rome 

228 Oliver Twist 

229 Pauvrette 

230 Man in the Iron Mask 

231 Knight of Arva 

232 Moll Pitcher 

VOL. XXX. 

233 Black Eyed Susan 

234 Satan in Paris 

235 Rosina Meadows [ess 

236 West End, or Irish Heir- 

237 Six Degrees of Crime 

238 The Lady and the Devil 

239 Avenger, or Moor of Sici- 

240 Masks and Faces [ly 


{French's Standard Drama Continued on 3 d page of Cover.) 


VOL. XXXI. 

241 Merry Wives of Windsor 

242 Mary’s Birthday 

243 Shandy Maguire 

244 Wild Oats 

245 Michael Erie 
•.4 5 Idiot Witness 

247 Willow Copse 

248 People’s Lawyer 

VOL. XXXII. 

249 The Boy Martyrs 

250 Lucretia Borgia 

251 Surgeon of Paris 

252 Patrician’s Daughter 

253 Shoemaker of Toulouse 

254 Momentous Question 

255 Love and Loyalty 

256 Robber’s Wife 
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257 Dumb Girl of Genoa 
2 8 Wreck Ashore 

259 Clari 

260 Rural Felicity 

261 Wallace 

262 Madelaine 

263 The Fireman 

264 Grist to the Mill 
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265 Two Loves and a Life 

266 Annie Blake 

267 Steward 

268 Captain Kyd 

269 Nick of the Woods 

270 Marble Heart 

271 Second Love 
i 72 Dream at Sea 

VuL. XXXV. 

273 Breach of Promise 

274 Review 

275 Lady of the Lake 

276 Still Water Runs Deep 

277 The Scholar 

278 Helping Hands 

279 Faust and Marguerite 

280 Last Man 
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281 Belle’s Stratagem 

282 Old and Young 

283 Raffaella 

284 Ruth Oakley 

285 British Slave 
2»6 A Life’s Ransom 
287 Giralda 

28J Time Tries All 

VOL. XXXVII. 

289 Ella Rosen burg 

290 Warlock of the Glen 

291 Zelina 

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294 Wonder 

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298 A Bachelor of Arts 

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301 Love’s Labor Lost 

302 Naiad Queen 

303 Caprice 

304 Cradle of Liberty 

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305 The Lost Ship 

306 Country Squire 

307 Fraud and its Viotimi 

308 Putnam 

309 King and Deserter 

310 La Fiammina 

311 A Hard Struggle 

312 Gwinnette Vaughan 

VOL. XL. 

313 The Love Knot [Judge 

314 Lavater, or Not a Bad 

315 The Noble Heart 

316 Coriolnnus 

317 The Winter’s Tale 

318 Eveleen Wilson 

319 Ivanhne 

320 Jonathan in England 


SAMUEL FRENCH- 26 West 2 ^d Street, New York City- 

New and Exulicit Descriptive Catalogue Mailed Free on Request. 
























I HE NEW 



Bn ©rioinal Gomefcp in ©ne Bet 


BY 

SYLVAN DREY, Esq, 

X' ^ 


Copyright, 1903, by Sylvan Drey 


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New York 

SAMUEL FRENCH 

PUBLISHER 

24 WEST 22D STREET 


London 

SAMUEL FRENCH, Ltd. 

PUBLISHERS 

89 STRAND 






I HE 11 DRARY OF 

CONORESS, 

! wo Copies Receive*) 

AUG U 1903 

Copyiifc'nt tntry 




CAST OF CHARACTERS. 

Alvin Hart, a sculptor, aged 28. 

Charles Austin, a photographer, aged 32. 

Aurelia Claire, aged 20. 

Elvira, her sister, aged 18. 

Horace Holmes, an inmate of Austin’s, possessing 

hypnotic powers, aged 40 . 

College girls. 

Time. —The present. The action takes place in a modern 
office building in a large city. 

N. B. The character of Alvin Hart is that of a thor¬ 
oughly earnest and ardent idealist and must be imper¬ 
sonated with becoming sincerity and consistency. Any¬ 
thing bordering on the burlesque is to be studiously 
avoided as wholly at variance with a true conception of 
the part. 

The stage directions invariably assume the reader to 
be facing the audience. 

Programs of this play should contain the following 
announcement: The audience is especially requested to 
remain seated till the curtain falls, as strict attention 
to the closing scene is essential to a proper apprecia¬ 
tion of the play. 


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THE NEW PYGMALION AND GALATEA 


Scene. —The curtain opens on adjoining rooms, occupy¬ 
ing the full width of the stage and separated by a wall 
in which is an open sliding-door far to the front. The 
room to the right represents a reception-room in a 
photographer's establishment; that to the left, a 
studio, having an independent curtain which is raised 
when the play opens. There is a door in the 
centre of the rear wall of the reception-room, and 
one in the right wall, back; also a door to the 
rear in the left wall of the studio; and still farther 
to the rear, in the same wall, an open doorway lead¬ 
ing into an ante-room, only a small part of which is 
visible. The reception-room contains a large cabinet 
of photographs; also a picture resting on an easel to 
the left of the rear door; and is otherwise neatly and 
suitably furnished. In the studio, standing against 
the left wall, not far from the door and between two 
statues, is an open piano with a stool. There are 
three statues to the left, and three to the right of 
a round pedestal, which occupies a place at the centre 
of the rear wall. The pedestal is low and broad 
enough to enable a person to mount and stand there 
in comfort. On a table to the left, front, not too far 
from the piano is an unfinished clay model of the bust 
of a woman, near which lies a small quantity of clay. 
To the right of the table is a chair turned half way 
around, left, toward the audience; and behind the 
table, not too far from the piano and turned half way 
around right toward the audience, is an easy chair. 
The studio is otherwise tastefully furnished in keep¬ 
ing with its purpose. The initial conversation takes 
place in the reception-room. 


Hart. Oh, she was a perfect dream! Such soft, 
seductive eyes, such a bewitching smile, such a delicate 
complexion, such matchless grace, such a wonderful 



4 THE NEW PYGMALION AND GALATEA. 


form! And to think that I may never again set eyes 
on her! 

Austin. Well, I’m glad you have discovered your 
ideal at last; but, upon my word, you rave over this un¬ 
known girl like a madman. 

Hart. Ah! if only you had seen her. 

Austin. I! I! What if I had? A man of my good 
common sense could hardly be guilty of the folly of 
going into hysterics over a woman’s eyes and smiles. 
(Laughs mockingly ) Ha! ha! ha! I, head over heels in 
love at sight! (A rap is heard in the rear. He walks 
back and opens the door) Good morning. 

Aurelta. {on entering) Late, I know, Mr. Austin. 
All my dressmaker’s fault. Abominable woman! 1 —kept 
me and my sister waiting in her dingy, stuffy parlor 
just one hour; and didn’t give me my dress after all. 

Austin. ( opens right door) Walk back, please. 
{Exit Aurelia, right) 

Hart, {excitedly) Charles! Charles! Who’s that? 
who’s that? 

Austin, {going front) Well, I declare, in love again! 

Hart. Again! Why, that’s the beautiful creature 
herself—the very girl I saw last night in a box at the 
National Theatre. 

Austin. Ha! ha! ha! Why that’s Miss Claire—Miss 
Aurelia Claire, {breaks out into a laugh) Well, 
well, well! 

Hart. You seem much amused. 

Austin. Amused! Slightly! {laughing and lower¬ 
ing his voice) Just to think, old boy, that you, of all 
men in the world, whose ideal is so exceedingly a quiet 
and reserved beauty; who detest a talkative woman quite 
as intently as you adore a beautiful one—just to think, 
I say, that you, of all men in the world, should go into 
such raptures over one of the most garrulous society 
girls I ever met in my life. 

Hart. What! that beautiful creature a- 

Austin. Yes, a most frivolous chatterbox. My stars! 
how she can talk. 

Hart. A thousand pities! a thousand pities! But, ah! 
I might have known as much. Was ever there such a 
vision of loveliness in this humdrum world without 
some shadow to blast its beauty! How cursed, oh! how 
doubly cursed, is this beautiful girl endowed with the 
power of speech! Robbed of that fatal gift, she becomes 
the perfect embodiment of my ideal. O, loveliest of 
images such as I have striven, alas! with what unavail¬ 
ing might and zeal, in fancy to fashion and in stone en¬ 
shrine, how hast thou enraptured me! The very soul of 
beauty shines out upon thy face. I gaze upon it and 




THE NEW PYGMALION AND GALATEA. 


5 

I am transported to a new world of everlasting bliss! 
(After a pause ) But, ah! ah!- 

Austin. ( with the air of one about to be bored ) Yes, 
I know what’s coming. ( mockingly ) Sighs and wails 
over the shadow on this “ vision of loveliness ”—the 
moving shadow; her incessantly wagging little tongue. 
What a pity Miss Claire wasn’t brought into the world 
with her lips hermetically sealed! She’d make a capital 
wife, if only she were as dumb as she’s stupid. 

Hart. Pray, Charles, don’t jest, don’t jest! 

Austin. Oh! you needn’t despair. Perhaps she may 
still be redeemed. Who knows? A man of your re¬ 
markable genius for carving women out of marble might 
readily cure Miss Claire of her affliction, I should imag¬ 
ine, by simply reversing the process and converting her 
into stone. 

Hart. By transforming her into a statue! Why, what 
are you talking about, Charles? What a ravishing 
dream! Would to Heaven it were possible of realiza¬ 
tion! If I could convert Miss Claire into a statue of 
flesh and blood—into a sort of living Venus, I vow, be¬ 
fore Heaven, I’d be the happiest mortal on earth! 

Austin. Stranger things than that have come to pass 
in this age of hypnotism and Christian Science. We 
moderns don’t know what we can’t do until we try. 
There’s no telling, old man, but that the very intensity 
of your desire to see this beautiful dream realized may 
enable you to make a statue of Miss Claire with all the 
ease of a hypnotist; or, if you should hesitate to go so 
far, you might perhaps rid her of the power of speech 
as the Christian Scientist cures disease—by simply ig¬ 
noring it. 

Hart. Charles, stop, stop this raillery! 

Austin. Well, I must be off. I’m going to photograph 
the fair Aurelia in Greek attire. 

Hart. In Greek attire! Ah, how it would delighj; me 
to see her in a Greek robe! 

Austin. Your wish shall be gratified, old boy. As 
soon as my task’s completed, I’ll bring her here and in¬ 
troduce you. Meanwhile, go put on your working garb. 
Till then, au revoir. ( exeunt Austin, reception room , 
right; Hart, studio , left door ) 

(Enter Ethel and Lilian, college girls , stylishly at¬ 
tired; reception room , rear.) 

Ethel. ( approaching the picture on easel) As I live, 
Grace Vandike! 

Lilian. Isn’t it perfectly splendid? 




Q THE NEW PYGMALION AND GALATEA, 


Ethel. The living image of her! Has on her magnifi¬ 
cent furs. 

Lilian. Girls at college just go wild over Grace. I 
declare, I don’t think she’s so very attractive! 

(Enter Gracce, Nellie, Laura, college girls, stylishly 
attired. They greet and kiss the others.) 

Grace. ( approaching the picture on easel ) Why, 
bless me! Grace Vandike’s photo. Isn’t she just too 
sweet for anything? 

Nellie. Poor likeness, don’t you think? 

Laura. Rather! I wonder whether Will Kessler’s 
still sweet on Grace. 

(Enter Florence, Marie, and three other college girls, 

all stylishly attired.) 

Florence. Good morning, girls. Yes, I can vouch for 
it; Will’s as madly in love as ever. 

Ethel. They had a quarrel. 

Marie. A quarrel! About what? 

Ethel. I’m sure, I haven’t an idea. 

Florence. Absurd! I see them together at church 
every Sunday. 

Ethel. Is that your reward for being so pious? ( They 
all laugh) 

Lilian, {playing with Florence’s hair) Oh, Flossie, 
your hair’s done up beautifully! 

Marie. Yes, Flossie’s looks fine. I declare! mine's 
a show. I can do nothing with it . 

Ethel. ( goes front with Lilian) Come, girls, how 
shall we be grouped? {The rest folloiv Ethel front; they 
form themselves into a group, except Ethel, who stands 
off and views them from a distance) Why, that’s great! 
Grac$, come here. Let’s have the benefit of your artistic 
eye. 

(Grace and Ethel exchange places.) 

Grace. Splendid! The man who can resist so charm¬ 
ing a bevy of girls must have a heart of stone. ( They 
all laugh) 

{Enter Austin, reception room, right.) 

Austin, {on discovering them) Good morning. How 
very picturesque! 

All. Good morning. We’re all going to be photo¬ 
graphed, Mr. Austin. 




THE NEW PYGMALION AND GALATEA. 


i 


Ethel. Yes, we want you to take us in a bunch. 

Austin. Certainly a most flattering proposal which I 
cheerfully accept, though I’m neither Turk nor Mormon. 
(Goes back while talking and opens right door) Will 
you walk in? I’ll be with you shortly. ( They pass out, 
right, laughing) 

(Enter Holmes, reception room, rear.) 

Austin. Hallo, Holmes, you’re just in the nick of 
time. 

Holmes. I came down on the elevator as soon as I 
received your message. Why did you send for me? 

Austin. To secure your cooperation in an amusing 
little intrigue. Our friend Hart is madly infatuated 
with a patron of mine—Miss Aurelia Claire. 

Holmes. Miss Claire! Let me see, let me see, I met 
a young girl by that name Only the other night. She’s 
tall, graceful, handsome; just made her debut in society 
—an incessant talker. 

Austin. The identical woman. 

Holmes. ( laughing ) Well, well, that’s odd! Hart’s 
infatuation is at strange variance with his professions. 
How he has always railed at loquacious women! Why, 
he swore he’d run, I don’t know how many miles, to 
escape one. 

Austin. Hold! you do him an injustice. He knows 
Miss Claire as yet only by sight and name. He saw her 
for the first time last night at the National Theatre; 
and while standing here this morning, going into the 
wlidest raptures over her beauty, in she walked as if by 
a miracle, but, in fact, by appointment to have her pic¬ 
ture taken. As soon as Hart caught a glimpse of her, 
he was, of course, all joy and excitement; and with eager 
impatience inquired after her name. 

Holmes. Oho! oho! I see; and then you did a tale 
unfold about her electric tongue that harrowed up his 
young soul; whereupon he was seized with an awful 
fit of melancholy and broke out into one of his custo¬ 
mary lamentations over this prosaic world. 

Austin. Exactly so; and then ( imitating Hart) 
“ How cursed, how cursed,” he sighed, “ is this beautiful 
girl endowed with the power of speech! Robbed of that 
fatal gift she becomes the perfect embodiment of my 
ideal; ” after which he struck out again into the most 
extravagant praises of her beauty. And when I play¬ 
fully suggested that a man of his commanding genius 
for carving women out of marble might readily cure the 
beautiful Aurelia of this accursed power of speech by 
converting her into stone, he solemnly vowed that if 


s THE NEW PYGMALION AND GALATEA. 


she could be transformed into a sort of a living statue 
—a Venus of flesh and blood—he’d be the happiest mor¬ 
tal on earth. 

Holmes. ( jestingly, with a slight sigh ) Heigho! 
The same old Hart—the same old dreamer. 

Austin. Dreamer as he is, I think he’ll prove an easy 
traitor to his professions, and I mean to put him to 
the test. 

Holmes. But how? 

Austin. By a little ruse. He expects presently to be 
introduced to Miss Claire. She is now in the adjoining 
room ( indicates room to right) and in a few moments I 
shall contrive to bring them together. Meanwhile you 
are to secrete yourself in his ante-room; and, on the first 
favorable opportunity, use your powers of hypnotism 
upon Miss Claire to transform her into a human statue. 
When Hart beholds thi$' miraculous "transformation un¬ 
der the belief that he has himself effected it—for by 
hints and suggestions I have sought to impress him with 
this possibility—when he sees his much adored Aurelia 
standing before him mute, rigid, and still as a corpse, 
methinks he’ll repent of his folly. 

Holmes. A capital idea! I’m with you heart and 
soul. 

(Enter Hart, studio, left door.) 

Austin, {on hearing Hart enter studio) Hush! 
that’s he. Be off! 

{Exit Holmes, reception room, rear. Austin ivalks 
front; then goes into studio to meet Hart.) 

Ah! there you are, old man. You shall see the charming 
Aurelia in her Greek dress. She’s going to keep it on 
for a while under the impression that she may have to 
sit for me again. 

Hart. Oh, I can’t tell you, Charles, how much the 
prospect of meeting Miss Claire at once agitates, delights 
and saddens me! If only she were shorn of that awful 
tongue! 

Austin. Come—never mind, you may be able to rid 
her of that—sit here {points to a chair next to the table) 
and pretend that you are very busy with this model. 
(Hart sits down as requested) Be sure that you don’t 
stir until I call you. Miss Claire knows nothing yet of 
my intention to introduce you. 

(Austin goes into reception room, pulls sliding-door to, 

and then passes out right; meanwhile Hart begins 

to icork on the unfinished model. Enter Aurelia, in 




THE NEW PYGMALION AND GALATEA. 9 


a Greek robe, followed by Austin, reception room, 

right.) 

Austin. Now, let me see, Miss Claire, what can I do 
to amuse you while I keep you waiting? 

Aurelia. Yes, for Heaven’s sake, do! I’m sure I shall 
die of ennui if I am left to myself so long. 

Austin, {goes to the cabinet and opens the door) 

Suppose- ( closes it agains abruptly) No, that would 

be much too tame for you. {Suddenly) Ah! I have it, I 
have it. {Goes front; she follows at a short distance) 
How would you like to make the acquaintance of a 
sculptor—a real live sculptor? 

Aurelia. Is he handsome? Plenty of money? 

Austin. Handsome? A perfect Adonis! Rich? 
Well, while not exactly a Carnegie or a Rockefeller, I 
imagine he could afford to let his wife have a new 
gown every week, to say nothing of such other little 
extravagances as are necessary to make a woman happy. 

Aurelia. Trot him out! 

Austin. {opens sliding-door and calls into studio) 
Hart! Hart! I say! All work and no play makes poor 
models out of clay. Step this way, step this way. 
(Hart rises excitedly and goes into reception room) 
Let me present you to Miss Claire. {He introduces 
them) 

Hart, {aside) By Heaven! Helen herself could not 
have looked half so beautiful in a Greek gown. {Aloud) 
I’m delighted to know you, Miss Claire. 

Aurelia. {with animation; rapidly) Thanks, aw¬ 
fully. Mr. Austin’s going to place me in your charge, un¬ 
til he can let me know about my proofs. I can’t tell how 
long I shall be detained. I detest being alone. Tt’s 
very wearisome, you know. I never could endure it. 
Always gives me the blues. 

Hart, {aside) If she continues to rattle on like this, 
it will set me wild! {Aloud) But oh! isn’t she beauti¬ 
ful? 

Austin, {to Aurelia) Mr. Hart will be glad to show 
you his studio, I’m sure. He has a special talent for 
entertaining—society girls. Well, I must go. I’m in 
great demand—there’s a whole bunch of girls waiting 
for me in the next room. {Exit, reception room, right) 

Hart, {inviting her by gesture into the studio) Will 
you walk in, Miss Claire? {She enters, followed by him) 

Aurelia, {looking about) So this is your den! Very 
neat. Tastefully furnished. Suppose you chisel away 
here all day? 

Hart. Yes, all day; and sometimes far, far into the 
night. 



10 THE NEW PYGMALION AND GALATEA. 


Aurelia. Must be quite stupid sitting here all day 
without a solitary soul to talk to, I should think. It 
would drive me to distraction. And at night—at night 
with your sins and those white marble ghosts staring you 
in the face—ugh! the very thought of it gives me the hor¬ 
rors! 

Hart. In this little room, Miss Claire, I have spent 
the happiest moments of my life. To be sitting here 
alone in entire forgetfulness of this unlovely world, 
wholly absorbed in watching some endeared fancy of 
the imagination slowly taking on tangible shape until 
it emerges at last from its marble encasement as a free 
and perfected creation, is indeed to taste of the joys of 
paradise! 

Aurelia. Oh, pshaw! You talk so queer, just like 
one of those men way-up-in-the-sky you read about in 
novels. ( Discovers the piano) Oh! are you fond of 
music? (Sits down at the piano) 

Hart. I’m very fond of it. (Aside) If only she’d 
stop that idle prattle and play something. 

(Aurelia plays one of the latest waltzes with vivacity , 

hut no emotion. Hart manifests his disappointment 

hy a sigh, after she has played a few bars.) 

Altrelia. (turns upon him suddenly after she has 
finished playing) That’s my favorite waltz. Lovely, 
don’t you think? You should hear it played by an 
orchestra! It’s divine. Are you fond of Sousa’s 
marches? They’re perfectly adorable. (Plays a few 
lines of one of Sousa's marches; then hrealcs off) 
This one’s pretty, don’t you think? (Plays a few lines 
of another of Sousa's marches; then stops and turns on 
him suddenly) Oh! do you dance? 

Hart. (aside) Heavens! what awful twaddle! 
(Aloud) Very rarely. 

Aurelia. Don’t you go into society? 

Hart. Hardly, I’m afraid, into such as you under¬ 
stand by that term. 

Aurelia. Don’t you play ping-pong or golf? Oh, I 
just adore golf! 

Hart. No. 

Aurelia. Well, you are an odd sort of man. Work 
all day—sometimes far into the night—don’t go into 
society—don’t play ping-pong, and don’t play golf. 
Pshaw! you’re not a bit up-to-date. (Jumps up 
from the piano stool) How can you sit here -for¬ 
ever? It would set me wild. Give me plenty of life. 
I love nothing so much as the whirl and excitement of 


THE NEW PYGMALION AND GALATEA. H 


society—teas, parties, balls, the theatre, the opera, the 
races. You know I just made my debut. I’m having a 
glorious ttme. I’m going to the races this afternoon; 
to-night I have an invite to a ball; on Tuesday morn¬ 
ing I’ve a church wedding on hand; in the afternoon I 
go to a high tea; at night, to the opera; on Wednesday 
morning—where do I go? where do I go?—oh, yes, 
Wednesday morning, I’m at home; in the afternoon, 1 
go to a pink tea; at night, I’m invited by a French count 
to a very swell musicale, and on Thursday, I go with 
the count to the horse show. ( While she talks, Hart 
shoios occasional signs of great disgust) 

Hart, (aside) And next, to your grave. If she keeps 
up this incessant chatter. I’ll go mad. 

Aurelia, (suddenly discovering the pedestal in the 
rear of room ) Oh! I wonder how I’d look in marble! 
(Bounds lightly across the room and mounts the pedes¬ 
tal) 

Hart, (aside) More beautiful than Venus! What a 
divine form! What exquisite features! 

Aurelia, (poses) Fine, don’t you think? 

Hart. Nothing could be more becoming! (Aside) 
Would to Heaven it were in my power to keep her there 
in perpetual silence! (Aloud) If you’ll remain perfectly 
quiet like that. Miss Claire, for half an hour every day 
until you are dismissed. I’ll present you with a marble 
image of yourself. 

Aurelia. Agreed. I’ll try. Let’s begin at once. 
Hart. Very well. (He goes further front and vieius 
her critically) 

Aurelia, (aside) What makes me feel so drowsy? 
Hart, (approaching her) Now you mustn’t mind if 
I take some liberties with your head and arms in my 
efforts to get the precise artistic effects at which I aim. 
(He changes the position of her head and arms; then 
goes front and views her from afar) Still not right. 
(He approaches her again, alters her position and stands 
off at a distance as before) Ah! much better, but it 
doesn’t fully satisfy me yet. 

(While Hart is occupied as above explained, Holmes, 
hidden from Hart and Aurelia, but in view of the 
audience, hypnotizes Aurelia from the ante-room of 
Hart’s studio by means of a few repeated passes, un¬ 
der the inftence of which she is gradually changed 
into a human statue. Thus transformed, her eyes are 
set and she becomes rigid and speechless, but other¬ 
wise preserves her natural appearance. After ex- 
claiming, when Hart approaches her for the second 


12 THE NEW PYGMALION AND GALATEA. 

time, “ I feel so stiff,” she makes two subsequent fruit¬ 
less attempts to repeat the words in such manner as 
to indicate that she is quickly losing the ^ower of 
speech. As soon as Aurelia’s transformation is ef¬ 
fected, Holmes disappears from the view of the audi¬ 
ence. ) 

Hart. (approaching her for the last time, and en¬ 
deavoring to move her head and arms ) Why, great 
Heavens! great Heavens! she’s rigid as stone,and speech¬ 
less! speechless! Can it be possible? Am I dreaming? 
(Goes into reception room and ope?is right door) 
Charles! Charles! 

{Enter Austin, with a negative in his hand, reception 

room, right.) 

Austin. Well! well! What’s the trouble? ( They go 
front together.) 

Hart. Great Heavens! Charles, look! ( Points to 
Aurelia in the studio) A miracle! A miracle! My 
dream is realized! Oh! how beautiful, how entrancingly 
beautiful! It’s accomplished. She’s silenced forever. 
I’m the happiest being on earth. {They enter the studio) 
Austin. What did I tell you, old man? Nil despc- 
randum. 

Hart. Yes, I owe it all to you. And now I mean to 
make a small sketch of her at once. I’m going to get 
some clay and order a block of the finest Carrara marble. 

{Exit Hart, studio, left door. Austin goes into the 
reception room, laughing heartily, and there meets 
Holmes, who rushes in through the rear door.) 

Holmes, {laughing) That’s rich! I almost split my 
sides laughing. But he’s far from cured. The transfor¬ 
mation seems only to have intensified his infatuation. 

Austin. It is but the mad enthusiasm of the artist. 
He’ll recover his senses presently. Come inside a mo¬ 
ment, I’m busy. 


{Exeunt Austin and Holmes, reception room, right. 
Enter Elvira, reception room, rear.) 


Elvira. Not here! Surely she’s had her picture taken 
by this time. {Walks front and discovers Aurelia in th 
studio) Why, Aurelia, what are you doing there. 
{Hastily enters the studio) Aurelia! Aurelia! Good 
gracious! what’s the meaning of this? She doesn’t an¬ 
swer! {Approaches her) Speechless! Rigid as stone! 


>5 Cfc 


THE NEW PYGMALION AND GALATEA. 13 


Like in a trance! ( Horror-stricken ) Heavens! what in 
the world can have happened to her? ( Goes into recep¬ 
tion room in a state of great agitation and distress. 
Studio curtain falls ) 

(Enter Austin, reception room, right.) 

Austin. {aside) What a remarkably pretty girl! 
Who can she be, I wonder? She’s certainly very fasci¬ 
nating. 

Elvira, {greatly perturbed, but with much dignity) 
Is this—this Mr. Austin? 

Austin. Yes, miss. {Aside) Isn’t she bewitching? 
Upon my soul I never thought any girl in Christendom 
could exercise so strange an influence over me. {Aloud) 
What can I do fcr you? 

Elvira. I came here to meet my sister, Miss Claire, 
and—and to my complete amazement and horror, I find 
her in the next room standing like a statue glued to a 
pedestal. {She goes front) 

Austin, {follows her — aside) Miss Claire’s sister! 
This is an awkward dilemma! 

Elvira. What can have happened to her? It’s—it’s 
dreadful! {Paces the floor in agitation) 

Austin. Oh, are you a sister of Miss Claire? {Aside) 
What shall I say to her? {Reflects) Yes, I have it. 
{Aloud) Calm yourself, my dear miss. It’s only a little 
joke of your sister’s. 

Elvira, {standing at open doorway with Austin) A 
joke! Why, when I speak to her she doesn’t pay the 
slightest attention to me. See! {looks into studio) she 
stands there as still as death. It’s terrible, terrible! 
{Puts her handkerchief to her eyes and sobs inaud- 
ibly) 

Austin. Oh, don’t weep! {Aside) How those sobs 
distress me! {Aloud) It’s only a joke she’s been play¬ 
ing on me. Just go into the next room and lock the- 
door while I pull this one to. After you and she have 
been together for a while she’ll be herself again, I’m 
sure. 

(Elvira takes handkerchief from her eyes, goes into 

the studio and locks left door; Austin pulls sliding- 

door to. Enter Holmes, reception room, right.) 

Holmes, {with surprise) What’s come over you of a 
sudden? You look so sober. You seem to have lost all 
of your hilarity. 

Austin, {anxiously) We’re in a fix. Her sister is in 


14 THE NEW PYGMALION AND GALATEA. 


the next room in a great state of perturbation. Came 
here to meet Miss Claire by appointment. You must 
wake her out of her trance at once. 

Holmes. Not I! We were to put Hart to the test. 

Austin. But Miss Claire’s sister is in there! (Aside) 
How I wish I were out of this! 

Holmes. Haven’t you ingenuity enough to devise 
some means of getting rid of her for a few minutes? 

Austin. Oh! but the bewitch—the young girl is 
nearly distracted. She’s sobbing fit to break my—her 
heart. It’s really a pitiable sight to see her in tears. 

Holmes, (aside) Oho! Well! well! as sure as I live 
he’s fallen in love with the sister. (Aloud) Since when 
have you grown so sensitive to a pretty girl’s tears? 
If I mistake not, you always boasted of your supreme 
indifference to beautiful women in sunshine and in rain. 

Austin. Well, laugh and ridicule me as you will, 
Holmes, I must confess the girl has made a very, very 
deep impression on me. 

Holmes. What! You with your vaunted matter-of- 
fact temperament falling in love at sight! Ha! ha! ha! 
“ What easy traitors some men prove to their profes¬ 
sions! ” 

Austin. Have your fun; rail at me as you will; only 
put me in the way of granting this bewitching girl’s 
request. 

Holmes. Very well, I’ll relent; for, truly, I am dying 
of impatience to see the girl who can entangle a man in 
such flagrant contradictions, and so completely turn his 
head. Open that door, go into the next room, and in¬ 
struct your dulcinea to speak to her sister on some mat¬ 
ter of special interest to her; then hunt up Hart and tell 
him in what great danger his beautiful angel is of 
having her power of speech restored. Leave the rest to 
me, and I assure you that when she awakes to welcome 
her sister, Miss Claire will have forgotten all that has 
happened to her since she left your studio, as completely 
as if it had in fact never taken place. 

(The studio curtain rises; Elvira is discovered sobbing 
and pacing the floor in agitation.) 

Austin. It shall be done. (He opens the sliding-door) 

Holmes, (peeps into the studio — aside) Ah! there 
they are—the weeping and the sleeping beautv. Re¬ 
markable sisters that can make such fools of us men. 
(He draws back, but continues to stand front, close to 
the open doorway) 

Austin, (going into the studio—to Elvira) Well, 
hasn’t she revived yet? No wonder! you’re not a bit 


THE NEW PYGMALION AND GALATEA. 15 


sociable. Just put some question of special interest to 
her, as soon as I leave the room. If she fails to respond, 
may I be struck dumb myself! 

(Elvira stops pacing the floor and stands a short dis¬ 
tance from the open sliding-door, with her face to¬ 
wards Aurelia; Austin unlocks left door and passes 
out.) 

Elvira, (to Aurelia) Aurelia! Aurelia, dear! Miss 
Nellie has just finished your dress. Oh, it’s superb! 

(As she utters these words, Holmes, who is listening in¬ 
tently in the reception room, snaps his fingers and ex¬ 
claims in an undertone, “Awake! awake!” whereupon 
Aurelia gradually comes to life.) 

Aurelia. (on awaking) My new dress! my new 
dress! Is it really finished, Elvira? How glad I am! 
(She springs lightly from the pedestal and goes to 
Elvira) Did she make it just as I told her? 

(Holmes peeps into the studio from a distance, then 
hastily draws hack and passes out of the reception 
room by rear door. Enter Hart, unperceived by El¬ 
vira and Aurelia, studio, left door.) 

Hart, (excitedly, on entering—to Elvira) Stop! 
stop! (Aside) Too late! too late! 

Elvira, (to Aurelia) Precisely as you designed it— 
bows and all. (Aloud, but so as to avoid being heard 
by Aurelia) Thank God! Restored to life! 

Aurelia, (to Elvira, while they slowly walk together 
toward the reception room) Oh! I’m so glad. I shall 
wear it to-night, after all. I wonder whether mamma 
will like it. It’s more stylish than Alice Shaw’s, don’t 
you think? and becomes me better than my blue silk. 

Hart, (with bitter sarcasm, as Elvira and Aurelia 
approach the reception room, without taking any notice 
of him) Restored to life! Murdered! murdered! you 
mean; and, O, lost—lost to me forever! (Sinks down 
into the easy-chair) 


CURTAIN FALLS. 
















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VOL. XLI. 

The Pirate’s Legacy 
The Charcoal Burner 
Adelgitha 
Seuor Valiente 
Forest Rose 
Duke’s Daughter 
Camilla’s Husband 
Pure Cold 

VOL, XLIt. 

Ticket of Leave Man 
Fool’s Revenge 
O’Neil the Great 
Handy Andy 
Pirate of the Isle® 
Fanchon 
Little Barefoot 
Wild Irish Girl 
VOL. XLI1I. 

Pearl of Savoy 
Dead Heart 

Ten Nights iti a Bar-room 
Dumb Boy of Manchester 
Belphegor theMounteb’k 
Cricket on the Hearth 
Printer’s Devil 
Meg’s Diversion 


( French's Standard Drama Continued from 2d page of Cover.) 


VOL. XLIV 

345 Drunkard’s Doom 

346 Chimney Corner 

347 Fifteen Years of a Drunk- 

348 No Thoroughfare [ ard’s 

349 Peep O’ Day |_ Life 

350 Everybody’s Friend 

351 Gen. Grant 

352 Kathleen Mavourneen 

VOL. XLV. 

353 Nick Whiffles 

354 Fruits of the Wine Cup 

355 Drunkard’s Warning 

356 Temperance Doctor 
367 Aunt Dinah 

358 Widow Freeheart 

359 Frou Frou 

360 Long Strike 

VOL. XLVI. 

361 Lancers 

362 Lucille 

363 Randall’s Thumb 

364 Wicked World 

365 Two Orphans 

366 Colleen Bawn 

367 ’Twixt Axe and Crown 

368 Lady Claucarthy 


VOL. XLVII. 

369 Saratoga 

370 Never Too Late to Mend 

371 Lily of France 

372 Led Astray 

373 Henry V 

374 Unequal Match 

375 May or Dolly’s Delusion 

376 Allatoona 

VOL. XLVIII. 

377 Enoch Arden 

378 Under the Gas Light 

379 Daniel Roch&t 

380 Caste 

381 School 

382 Home 

383 David Garrick 

384 Ours 

VOL. XLIX. 

385 Social Glass 
3?6 Daniel Druce 

387 Two Roses 

388 Adrienne 

389 The Bells 

390 Uncle 

391 Courtship 

392 Not Such a Fool 


VOL. L. 

393 Fine Feathers 

394 Prompter’s Box 

395 Iron Master 

396 Engaged 

97 Pygmalion & Galatea 

398 Leah 

399 Scrap of Paper 

100 Lost in London 

VOL. LI. 

101 Octoroon 

402 Confederate Spy 

403 Mariner’s Return 

404 Ruined by Drink 

405 Dreams 

406 M. P. 

407 War 

408 Birth 

VOL. LII. 

409 Nightingale 

410 Progress 

411 Play 

412 Midnight Charge 

413 Confidential Clerk 

414 Snowball 

415 Our Regiment 

416 Married for Money 
Hamlet in Three Acts 
Guttle & Gulpit 


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by Sydney Grundy, author of “ Sowing the Wind,” 
&c. 8 male, 3 female characters. 

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Acts by Sydney Grunty, author of “Sowing the 
Wind,’* <vc. 5 male, 4 female characters. 

THE SILVER SHIELD. An original comedy In 
3 Acts by Sydnky Grundy, author of “Sowing the 
Wind,” &c. 5 male, 3 female characters. 

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SIX PERSONS. Comedy Act by t. Zangwill. 

1 male, 1 female character. 

FASHIONABLE INTELLIGENCE. Comedi¬ 
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Mock Trial 

Mrs. Jarley’s Wax Work* 

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Wigs, etc. 


VOL. XLI. 

821 Adventures of a Love 

322 i ost Child (Letter 

323 Court Cards 

324 Cox and Box 

325 Fortv Winks 

326 Wonderful Woman 

327 Curious Case 

328 Tweedleton’s Tall Coat 


{French' s Minor Drama Continued from 4th page of Cover.) 

VOL. XLIV. 

345 Who’s To Win Him 


VOL. XLII. 

VOL. XLIII. 

329 As Like as Two Peas 

337 Sunset 

330 Presumptive Evidence 

338 For Half a Million 

331 Happy Band 

339 Cable Car 

332 Pinafore 

340 Early Bird 

333 Mock Trial 

341 Alumni Play 

334 My Uncle’a Will 

342 Show of Hands 

335 Happy Pair 

343 Barbara 

336 My Turn Next 

344 Who’s Who 


346 Which is Which 

347 Cup of Tea 

318 Sarah's young Man 

349 Hearts 

350 In Honor Bound (Law 

351 Freezing a Mother-in* 

352 My Lord in Livery 


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VOL. I. 

1 The Irish Attorney 

2 Boots at the Swan 

3 How to Pay the Rent 

4 The Loan of a Lover 

5 The Dead Shot 

6 His Last Legs 

7 The Invisible Prince 
ts The Golden Farmer 

VOL. II. 

9 Pride of the Market 

10 Used Up 

11 The Irish Tutor 

12 The Barrack Room 

13 Luke the Laborer 

14 Beauty and the Beast 

15 St. Patrick’s Eve 

16 Captain of the Watch 

VOL. III. 

17 The Secret [pers 

18 White Horse of the Pep- 

19 The Jacobite 

20 The Bottle 

21 Box and Cox 

22 Bamboozling 

23 Widow’s Victim 

24 Robert Macaire 

VOL. IV. 

25 Secret Service 

26 Omnibus 

27 Irish Lion 

28 Maid of Croissy 

29 The Old Guard 

30 Raising the Wind 

31 Slasher and Crasher 

32 Naval Engagements 

VOL. V. 

33 Cocknies in California 

34 Who Speaks First 

35 Bombastes Furioso 

36 Macbeth Travestie 

37 Irish Ambassador 

38 Delicate Ground 

39 The Weathercock [Gold 

40 All that Glitters is Not 

VOL. VI. 

41 Grimshaw, Bagshaw and 

Bradshaw 

42 Rough Diamond 

43 Bloomer Costume 

44 Two Bonnycastles 

45 Born to Good Luck 

46 Kiss in the Dark [jurer 

47 ’Twould Puzzle a Con- 

48 Kill or Cure 

VOL. VII. 

49 Box and Cox Married and 

50 St. Cupid [Settled 

51 Go-to-bed Tom 

52 The Lawyers 

53 Jack Sheppard 
64 The Toodles 
55 The Mobcap 

66 Ladies Beware 

VOL. VIII. 

67 Morning Call 

58 Popping the Question 

59 Deaf as a Post 

60 New Footman 

61 Pleasant Neighbor 

62 Paddy the Piper 

63 Brian O’Linn 

64 Irish Assurance 

VOL. IX. 

65 Temptation 

66 Paddy Carer 

67 Two Gregories 

68 King Charming 

69 Po-ca-hon-tas 

70 Clockmaker’s Hat 

71 Married Rake 

72 Love and Murder 

VOL. X. 

73 Ireland and America 

74 Pretty Piece of Business 

75 Irish Broom-maker 

76 To Paris and Back for 

Five Pounds 

77 That Blessed Baby 

78 Our Gal 

79 Swiss Cottage 

80 Young Widow 


VOL. XI. 

81 O’Flannigan and the Fai 

82 Irish Post [ries 

83 My Neighbor’s Wife 

84 Irish Tiger 

85 P. P., or Man and Tiger 

86 To Oblige Benson 

87 State Secrets 

88 Irish Yankee 

VOL. XII. 

89 A Good Fellow 

90 Cherry and Fair Star 

91 Gale Breezely 

92 Our Jeuiimy 

93 Miller’s Maid 

94 Awkward Arrival 

95 Crossing the Line 

96 Conjugal Lesson 

'VOL. XIII. 

97 My Wife’s Mirror 

98 Life in New York 

99 Middy Ashore 

100 Crown Prince 

101 Two Que-ns 

102 Thumping Legacy 

103 Unfinished Gentleman 

104 House Dog 

VOL. XIV. 

105 The Demon Lover 

106 Alatrimony 

107 In and Outof Place 

108 I Dine with My Mother 

109 Hi-a-wa-tha 

110 Andy Blake 

111 Love in ’76 [tie- 

112 Romance under Difficul- 
VoL. XV. 

113 One Coat for 2 Suits 

114 A Decided Case 

115 Daughter [noritv 

116 No; or, the Glorious Mi- 

117 Coroner’s Inquisition 

118 Love in Humble Life 

119 Family Jars 

120 Personation 
VOL. XVI. 

121 Children in the Wood 

122 Winning a Husband 

123 Day After the Fair 

124 Make Your Wills 

125 Rendezvous 

126 My Wife’s Husband 

127 Monsieur Tonson 

128 Illustrious Stranger 

VOL. XVII. 

129 Mischief-Making [Mines 

130 A Live Woman in the 

131 The Corsair 

132 Shylock 

133 Spoiled Child 

134 Evil Eye 

135 Nothing to Nurse 

136 Wanted a Widow 

VOL. XVIII. 

137 Lottery Ticket 

138 Fortune’s Frolic 

139 Is he Jealous! 

140 Married Bachelor 

141 Husband at Sight 

142 Irishman in London 

143 Animal Magnetism 

144 Highways and By-Ways 

VOL. XIX. 

145 Columbus 

146 Harlequin Bluebeard 

147 Ladies at Home 

148 Phenomenon in a Smock 

Frock 

149 Comedy and Tragedy 

150 Opposite Neighbors 

151 Dutchman’s Ghost 

152 Persecuted Dutchman 

VOL. XX. 

153 Musard Ball 

154 Great Tragic Revival 

155 High Low Jack & Game 

156 A Gentleman from Ire- 

157 Tom and Jerry [land 

158 Village Lawyer 

159 Captain’s not A-miss 

160 Amateurs and Actors 


JU16WC]« 


161 Pr< 

162 A 

163 Mr 

164 Sill 

165 Ne 

166 Lao 

167 Take 

168 Irish Widow [Charley 

VOL. XXII. 

169 Yankee Peduler 

170 Hiram Hireout 

171 Double-Bedded Room 

172 The Drama Defended 

173 Vermont Wool Dealer 

174 Ebenezer Venture [ter 


0 017 400 970 3 


mam WIWI me iVllIKing 

248 Perplexing Predicament 

VOL. XXXII. 

249 Dr. Dilworth 

250 Out to Nurse 

251 A Lucky Hit 

252 The Dowager 

253 Metamora (Burlesque) 

254 Dreams of Delusion 


175 Principles from Clmrac-!255 The Shaker Lovers 

176 Lady of the Lake (Trav)l256 Ticklish Times 


VOL. XX1I1 

177 Mad Dogs 

178 Barney the Baron 

179 Swiss Swains 

180 Bachelor’s Bedroom 

181 A Roland for an Oliver 

182 More Blunders than One 

183 Dumb Belle 
ls4 Limerick boy 

VOL. XXIV. 

185 Nature and Philosophy 

186 Teddy the Tiler 

187 Spectre Bridegroom 

188 Matteo Falcone 

189 Jenny Lind 

190 Two Buzzards 

191 Happy Alan 

192 Bets v* Baker 

VOL. XXV. 

193 No. 1 Round the Corner 

194 Teddy Roe 

195 Object of Interest 
1 ’6 My Fellow Clerk 
197 Bengal Tiger 
138 Laughing Hyena 

199 The Vic'tor Vanquished 

200 Our Wife 

VOL. XXVI. 

201 My Husband’s Mirror 

202 Yankee Land 

203 Norali Creina 

204 Good for Nothing 

205 The First Night 

206 The Eton Boy 

207 Wandering Minstrel 

208 Wanted, 1000 Milliners 
VOL. XXVII. 

209 Poor Pilcoddy 

210 The Mummy [Glasses 

211 Don’t Forget your Opera 

212 Love in Livery 

213 Anthony and Cleopatra 

214 Trying It On 

215 Stage Struck Yankee 

216 Young Wife & Old Um¬ 
brella 

vol. xxvm. 

217 Crinoline 

118 A Family Failing 

219 Adopted Child 

220 Turned Heads 

221 A Match in the Dark 

222 Advice to Husbands 

223 Siamese Twins 

224 Sent to the Tower 

VOL. XXIX. 

225 Somebody Else 
2-6 Ladies’ Battle 

227 Art of Acting 

228 The Lady of the Lions 

229 The Rights of Man 

230 My Husband’s Ghost 

231 Two Can Play at that 
Game 

232 Fighting bv Proxy 
VOL. XXX. 

233 Unprotected Female 

234 Pet of the Petticoats 

235 Forty and Fifty [book 

236 Who Stole the Pocket- 

237 My Son Diana [sion 

238 Unwarrantable Intru- 

239 Mr. and Mrs. White 

240 A Quiet Family 


( French's Minor Drama Continued on j d page of Cover.) 


VOL. XXXIII. 
v57 20 Minutes with a Tiger 

258 Miralda; or, the Justice 

of Tacon 

259 A Soldier’s Courtship 

260 Servants by Legacy 

261 Dying for Love 

262 Alarming Sacrifice 
26.3 Valet de Sham 

264 Nicholas Mckleby 

VOL. XXXIV. 

265 The Last of the Pigtails 

266 King Rene’s Daughter 

267 The Grotto Nymph 

268 A Devilish Good Joke 

269 A Twice Told Tale 

270 Pas de Fascination 

71 Revolutionary Soldier 

272 A Alan Without a Head 

VOL. XXXV. 

273 The Olio, Part 1 

274 Tne Olio, Part 2 

275 Tlie Olio, Part 3 [ter 

276 The Trumpeter’s Daugh- 

277 Seeing Warren 

278 Green Alountain Boy 

279 That Nose 

280 Tom Noddy’s Secret 

VOL. XXXVI. 

281 Shocking Events 

282 A Regular Fix 

283 Dick Turpin 

284 Young Scamp 

285 Young Actress 
2S6 Call at No. 1—7 

287 One Touch of Natur# 

288 Two B’hoys 

VOL. XXXVII. 

289 All the World’s a Stage 

290 Quash, or Nigger Prac- 
191 Turn Him Out [tice 

292 Pretty Girls of Stillberg 

293 Angel of the Attic 

294 CircumstancesalterCases 

295 Katty O’Sbeal 

296 A Supper in Dixie 

VOL. XXXVIII. 

297 Ioi on Parle Francais 

298 Who Killed Cock Robin 

299 Declaration of Independ* 

300 Heads or Tails [ence 

301 Obstinate Family 

302 My Aunt 

.303 That Rascal Pat 

304 Don Paddy de Bazan 

VOL. XXXIX. [ture 

305 Too Much for Good Na- 

306 Cure for the Fidgets 

307 Jack’s the Lad 

308 Much Ado AboutNothlng 

309 Artful Dodger 

310 Winning Hazard 

311 Day’s Fishing [4c. 

312 Did you ever send your, 
VOL. XL. 

313 An Irishman’s Maneuver 

314 Cousin Fannie 

315 ’Tis the Darkest Hour be- 

316 Alasquerade [fore Dawn 

317 Crowding the Season 

318 Good Night’s Rest 

319 Alan with the Carpet Bag 

320 Terrible Tinker 


SAMUEL FRENCH. 26 West 22d Street, New York City. 

New and Explicit Descriptive Catalogue Mailed Free on Request. 





















































































